Since we don’t care at all about the director-star squabbling that has beset Don’t Worry Darling—it’s hardly Herzog and Klaus Kinski circling each other with pi...
Prequels, like Ti West’s new film Pearl, come bearing an existential mandate—you need audiences that will revere the previous film, and a compelling reason to b...
Sometimes, high concept means an absence of concept altogether. Like a sensory deprivation tank, the new non-thriller The Immaculate Room is so empty it dares y...
A fervent effort to craft a Stand By Me for tween girls—or maybe for Millennials nostalgic for their sixth-grade girlhoods—director James Ponsoldt’s Summering e...
Arriving amid a fat and pricey blitz of hype, Jordan Peele’s Nope is a willfully eccentric bear of a movie. You could call it Peelean. Like his earlier hits, Ge...
The new adaptation of Jane Austen's Persuasion is like an Impossible patty versus a Waygu burger. Or, put another way, if Austen is a dry martini, ironic and br...
Peter Strickland’s new film, Flux Gourmet, revels in savory, deadpan freakitude, but I’m going to have a hard time telling you what it is. It’s not any kind of ...
A kind of career-capping, gross-out victory lap, David Cronenberg’s Crimes of the Future, is a triumph of perverse auteurism. To say no other artist could’ve sp...
Horror films aren’t just horror films anymore – like Alex Garland’s Men, these lurkers could be an emerging subgenre, and we could heretofore borrow a label fro...
Director Gaspar Noé has carved out a unique kind of provocateur role for himself—he rubs our snouts in sex and violence and visual dazzle, but he’s also somethi...
